Friday, September 12, 2014

I don't believe I own many split 12inch releases. I mean, I have a few, but they are pretty rare. I think we can all agree, the split 7inch is more of the norm when it comes to shared releases. However, the split 12inch really gives you more bang for your buck. I've always been very fond of a good solid EP release. EPs have a short runtime by nature, and often force an artist to cut out the fat (all of the fat) from what would have made a mediocre full length (LP) album. The fact that the manufacturing costs of an EP are relatively equal to that of a LP, which translates to the retail price being not much less, keeps EPs from being produced as often as they probably should. A split 12inch record allows two artists the same opportunity to shine within the limitations of an EP, and provides the buyer with double the fun at what most likely is a more than fair price.

Summersteps Records delivers a solid indie-cred split 12inch with Kid Icarus and Cold Coffee. The music between the two bands does compliment each other; perhaps the common thread, Nathaniel Kane, who plays "phantom keys" for Kid Icarus and is the singer, guitarist, and keyboardist for Cold Coffee (I'm guessing this is his main gig), lends to those comparable tones. Not to mentiom, Nathaniel Kane engineered and produced the Kid Icarus tracks, while he mixed Cold Coffee's. I simply love the fact that his name is spelled "Nathaniel" everywhere except as a band member for Kid Icarus, where he is referred to as "Nate."

The digitized hounds tooth -slash- checkerboard monotone (white) cover art is what first caught my attention (as it should). Wait, that's a lie; it was actually my curiosity of the color of the jacket. I think it is black. I'm pretty sure it is black. But as strange as it may sound, every time I hold the jacket, it appears to be the deepest of dark, navy blues. Oceanianic; from the most distant abyss. A blue so blue; virgin to sunlight. I've compared it numerous times to other records with black jackets, and I tell you what... this blue jacket is definitely black, yet still so blue. (I actually think it is the amount of white ink from the hounds tooth pattern that hosts the humorous trickery to the eye.)

That all being said, what also makes me confirm this record's blackness is the fact that there is no printing on the spine. I know I've mentioned before how blank solid black record jackets can be purchased, and prove to be an economically choice canvas for young bands doing whatever it takes to get their music out on vinyl. These blank jackets are often used by bands to silkscreen their artwork on by hand, rather than mass production, giving them a more custom aesthetic, and saving a few bucks in the process. A well noted result of handprinted jackets is a spine without anything on it, simply because it is so hard to print on the spine once the jacket has been assembled. The split 12inch for Kid Icarus and Cold Coffee might not have printing on the spine, however the craftsmanship on the front and back is flawless enough to make me question even my own inner Sherlock Holmes.

Nonetheless, the stamp-like typography on the center labels delivers my second clue with trying to solve this home-ec-mystery. The name of each band is the only text printed on the label of each respective side of the vinyl record. On Cold Coffee's side, there is what appears to be an ink splotch that would likely have been caused by some leaking ink or mishandling by its home based creator. You see, if a band or label is going through the trouble to handprint jackets to save money, it would make sense that they order their vinyl records with basic white labels (no manufactured printing), or have the blank labels sent to them prior to being glued to the records, so that they could also handprint the center labels as well. Genius! And my gut is telling me that this is the case with Kid Icarus and Cold Coffee.

The obscurity of all this makes the Kid Icarus and Cold Coffee split 12inch a go-to record for when I'm wanting to intrigue friends within my abode. The youthful position of the music keeps me going back for more.

Sunday, August 10, 2014

I am first trying to figure out why this split 7inch between bands Beached Out and The Reference Desk has a title. Unusual, but intriguing. It's the first thing I noticed. I may be wrong, but I believe I heard Beached Out use the words "you're getting close" in their track "Tiny War." Perhaps it's a theme. The Reference Desk's track "When You Drown" seems that it should (?) or could include the phrase.

Their traditionally punk 7inch v-fold jacket was the second thing to catch my attention. The unmistakeable waxy film from a black and white photocopy machine is always so pleasing to the touch. It's the sort of thing I will buy a record for. It shares the level of commitment a band has toward getting their record out: at all costs. And in most cases, possibly a direction to keep costs down; but in the end, a demonstration of pure character. Beached Out and The Reference Desk used a standard pastel yellow photocopier paper, 11"x17" in size for print, and then cut-to-bleed to keep it cool; purposely designed with images that run well. (I think I have an Ariel Pink 7inch of the same mind set.) Simple, classic sans-serif fonts; clean layout, with just the facts required. They get a 10/10 for design.

I'm dying to find out if the vinyl itself was pressed with Rainbo Records in Canoga Park, California (bands: feel free to email directly to let me know). I've always been a fan of their product, and this 7inch is in line with Rainbo's standards. The opaque lemon chiffon yellow vinyl is naturally heavy in weight, and holds well. Centered with a red / black contrasting label, the 7inch immediately becomes a through-back to the Chapel Hill NC college music scene, circa 1990.

The final note-worthy feature (perhaps a lesson for others, so take note): the respect Beached Out and The Reference Desk give to each other and their single release. Perhaps this is their point of having a title. While I do understand when two bands release a "split" release why they often think to give each other their own side of the packaging, making it appears as if there is a unique cover for each band, I don't think those bands understand that if I am digging for vinyl, there is now less of a chance that I am going to buy their record if I am only exposed to one of the two bands.

With a normal record (not a split), there is a pure 50/50 chance that you (the customer) might be interested in picking it up when stumbling across the record for the first time. If you don't know the band or the release, fate is now left in the hands of the design - the art work, and whether or not it compels you to pull the record out of the stack.

When you have a split release, you are either doubling yours odds to attract a new listener, or you are actually cutting them in half. If you promote both bands on the cover and make it look like a shared release, like Beached Out and The Reference Desk did, the customer may be interested in either band, and in a sense... doubling the chances of the customer picking up the record. However, if only Beached Out were on the cover, and I happen to not know the band or like the design they gave their side, I am not going to pick it up. And if I would have actually known or was interested in The Reference Desk, whom would have been on the other side that I never saw as I was flipping through hundreds of vinyl, then both bands would have missed out on me buying their record; cutting the odds in half and making it harder to sell their split release.

That all being said, I am happy to see Beached Out and The Reference Desk did not make this mistake. In fact, I know for sure that their 7inch would have been an immediate grab amongst many others if I just so happened to stumble upon it on Digging Day. And, (I am happy to report) after a first listen at home, I would not have been disappointed.

Saturday, April 5, 2014

I've been dying to write a review for this 12inch EP titled Foreign Spells from The Young Evils ever since I've been dancing in front of my speakers (a la Einstein A Go-Go style; kicking the foot back and all) at full volume over one year ago when it first graced my turntable. This quartet from Seattle, WA simply nailed it with their four song EP, brought to you by Fin Records. Their sharp-shooting approach with such a stellar release reminds me of the EPs Ride used to put out between their full lengths; packing a punch and never tiring.

"Darker Blue Bayou" takes off with a great clap-beat, supported by an assured groove. Troy Nelson and Mackenzie Mercer play back and forth with vocal leads. The rhythm drives deep into the bayou down I-10, never looking back.

I remember hearing "Dead Animals" for the first time; the second track to side-a. Mackenzie plus a muted power-pop guitar begin the song. Truthfully, my first impression was, "Oh no, it was too good to be true. They over delivered on the first song, and now it's downhill from here." But to my great and welcomed surprise, just about sixteen seconds into the track, The Young Evils brought me back to my imaginary dance floor, head swinging back and forth (wishing I had hair), and singing along to the lyrics (yes, upon first listen). Turning the volume up louder and louder, rift by rift, I simply could not get enough of The Young Evils' persistence; and we were only two-tracks into this inaugural listening.

Take a breathe, walk over to the turntable, and flip this beautiful wax to continue an amazing indie pop discovery. "The Devil's Barricade" finds Troy, with his hushed Jesus & Mary Chain -like vocals, taking the first step with another boy/girl tag-team approach to the vocals; I think this what I am beginning to like more and more about The Young Evils (it's keeps things interesting, and moving along). There is a familiarity with their music, much like The Rosebuds, leading you to believe you already know what's coming, yet creating a yearning for more.

Just as I am beginning to adore The Young Evils grittier comparison to UK indie poppers, The School, "Touch Tone Lovers" takes a sharp right hand turn onto 'Bad Ass Lane.' Do yourself a favor and go turn up the volume even louder than you had it before for this one; the drums feel so good, especially when The Young Evils drop out the bass for that break, leaving the guitars dangling out the window. Mackenzie's voice slides into a more chill, shoegaze-like vocal style, while the music, traditional to Rock n' Roll in many senses, really stands out on its own; presenting you with the truest of sounds for The Young Evils (and I love it).

Fin Records does not cut back in any way for this four song release. True to their form, the clear vinyl is simply immaculate. Inner sleeve embossed with their logo, pristine polypropylene bag to protect the artifact, Fin Records shows respect in many ways other won't. The two-toned packaging lends a hint to the modern day doo-wop inside. I just wish I could have told you all about this sooner.

Sunday, February 2, 2014

Banjos were never my thing. Perhaps it's my palate, perhaps it's my kin. However, if you drop a funky beat and a wee-bit of fuzz-toned lead, you've got my attention... and you've got Clawhammer. Nestled in Springfield, Missouri, this quartet brings to you their self-proclaimed "most original" fusion of time-honored Ozark boogie-woogie blended by a variety of synthesized utensils.

A straightforward designed 7inch release, Wee Rock Records keeps it traditional with black vinyl and a large cut center whole (always my favorite). The indie-cute cover had me guessing wrong; I was thinking something twee for this one. Nonetheless, hand-drawn artwork with black and white and one spot color printing is always a nice simplicity.

This is Wee Rock Records' 86th release (congratulations!) for local music out of Missouri. Their catalog suggests that they started the label releasing CD-Rs, but then gravitated toward 7inch vinyl (w00t!w00t!). The focus for Wee Rock Records is on documenting their local scene (which is how it should be), so kudos to them for keeping it going since 1995!

If you've been wondering what has been developing in the Ozarks with music in the past decade, check out Wee Rock Records!

Sunday, April 7, 2013

Naïm Amor is simply one of the most under appreciated artists, as well as guitarists, of our time. He is possibly the most stylish Frenchman living in the desert of Arizona playing live performances on any given night in a number of various dining establishments with an equally talented posse. I've been a fan of his music for years, and appreciated all of his recordings, but it wasn't until his release of 'Dansons' with Vacilando '68 Recordings that Amor marked his place in history. 'Dansons' is a timeless treasure.

Vacilando '68 Recordings really put their best foot forward with this release. With a stunning botanical cover image, and complimentary / properly delivered handwritten fonts (I really hate when people use a computer for this; thank you Naïm) that resemble the pistil of the lily-like flowers, you can anticipate the romantic qualities Amor naturally exudes, and appreciate his sensitive transmission.

The vinyl itself is a silky, buttermilk cream complexion that is quite possibly more smooth that Naïm Amor's own blend of traditional classic jazz with the most underground of indie rock; breaking and blending sonic barriers between genres decades apart. Naïm Amor is the J Mascis version of Joao Gilberto, whom inspired Martin Denny, only he's of this generation.

Thøger Lund and Mr. Howe Gelb himself from Giant Sand, as well as John Convertino of Calexico, are featured players on Naïm Amor's 'Dansons' album. Jim Waters at Waterworks, known for his work with Sonic Youth on their 'Goo' masterpiece, recorded and mixed the pièce de résistance of Amor's career.

Choice cuts are the tropically inspired "The Day After," which will have you reaching for a pitcher of Mai Tai and your Ray-Bans, "On Se Tient" and "The Other Step," appropriate for any Sunday breakfast at Tiffany's, and certainly "Sparkling Guitar," Amor's English journey into the Space Age Bachelor Pad realm.

Saturday, January 26, 2013

This split 12inch release between The Zookeepers and Signals, brought to us by Cellar Hits Records, exemplifies what I love about indie rock music: youthful, fearless, boisterous, divergent. I had high hopes from the minute I held this minimally designed record, and The Zookeepers and Signals certainly delivered.

The record jacket itself is a standard plain white cardboard sleeve, similar to one you might buy for that naked John Coltrane 12inch you found at the thrift store last Sunday. There is no actual printing on the white jacket, but a 6" paper square with the cover art has been glued onto the cardboard in the top right corner. There is nothing on the backside, and there is no spine with title information either to help you find this gem once you've filed it in between your Neil Young and ZS, or Tracy Shedd and Silk Flowers records; depending on which side you chose to file by.

Inside the jacket you will find a standard 8.5"x11" sheet of 20lb. white paper with liner notes and lyrics for each band, printed in black photocopier ink. Additionally, there is photocopied sheet music with what appears to be hand-drawn Sharpie-marker artwork, and photocopied receipt-tickets with the message "We designed this for you. All the mistakes were on purpose." repeated. There is a math worksheet, seven pages torn out from a book, information about a 6.8 magnitude earthquake that took place in California in 1994, a random piece of foil, a Pocket Monsters game card, and my favorite... photocopied miniature US currency totaling $22.00. The actual vinyl record appears to be the randomly selected mixed colored vinyl that manufacturing plants often offer at a discounted rate, cheaper than even your standard black vinyl.

Somehow between the medley of propaganda and lack of commonly expected features most consumers and collectors would be seduced by, I could sense The Zookeepers and Signals put a lot of heart behind this release. It's so obvious when someone puts a lot of money behind a record, by gusto is only visible when you close your eyes and open your mind.

This record, and the fact that it was pressed on vinyl (the fact that someone chose to invest the money that it takes to press it on vinyl), demonstrates one of the many shining examples as to why music should truly only exist on vinyl: vinyl records separate the men from the boys. Bands that are serious about their music want it on vinyl, understand what vinyl represents, and will do whatever it takes to make their music available on vinyl, even if that means releasing it with a generic white sleeve and glueing a 6" square on one side to provide you with some satisfaction of having artwork to find the record in your collection. Bands that only release their music via digital outlets, and even worse: online for free, simply have no balls. Bands that work with CDs might at least have a left nut, since a CD is a physical medium and the audio quality does somewhat resemble the actual sounds from the instruments. But when a band releases their music on a vinyl record, and its obvious that it was a financial struggle just to get the music on wax, on top of having to be creative to keep you visually entertained with packaging, it speaks highly about their character, dedication to their craft, and pursuit of artistic expression.

It's like a kid with a lemonade stand who is competing against the aggressively marketed Coca-Cola brand that is hyped through illustrious, trendy adverts. The average Joe would rather purchase an accessibly fashionable beverage at one of many places immediately nearby than drive 25-mph through some adolescent-infested neighborhood where baseballs, bicycles, and bb-guns are threatening their newly purchase used IROC-Z to support that 9-year old kid that picked lemons in the blazing sun the day before from his side-yard and made fresh lemonade with his 98-year old Great-Grandmother to sell today from a table made of a cardboard box. Those kids peddling their homemade lemonade never let me down when the needle hit their records, and neither has The Zookeepers, Signals or Cellar Hits Records with this release.

CDs, digital music, and the internet made it so easy for anyone to compete with the Coca-Cola caliber of musicians; promoting what appears to be an equal product, but not. These outlets have allowed people (not necessarily musicians or even artists) to over saturated the music industry. Vinyl records hold the (financial) bar high enough to keep the riff-raff out. In the past twenty-five years of collecting vinyl records, I've found that when a band is barely paying the entry fee to having their music pressed on wax, its always worth checking out. Bands that strive for this medium, no matter what the cost or sacrifice, always have a lot more to say than those that settle for the bargain-bin way.

This is not to say that all music on vinyl, and especially all music released with low-fi packaging, is going to be ground breaking. But in the case of The Zookeepers and Signals, ...from the hair-raising scream that opens the first track, "Welcome Nancy," on The Zookeepers side, to "Mommy Issues" and "Monster Party 2," with their sickly infectious beats delivered by Jacob Cooper (AKA: Jacob Safari of Wavves, The Mae Shi, Bark Bark Bark), that concludes Signals' side, this split 12inch is full of fresh lemonade made from local, organic, sustainable, GMO free, carbon free, gluten free, grass fed (and whatever else) lemons, and I'm going back for seconds.

Sunday, December 23, 2012

First off... I love this record! I love it for so many reasons (that we will get to in a moment), but let's start with the music and then dive into the fun stuff: the packaging. Side-a / track-1, "(A) Natural History," is simply the perfect start to what is a brilliantly constructed record. Immediately, I fantasize that this record was mislabeled and I'm actually listening to Swervedriver's long lost demo recordings (pre-Raise); Soccer Mom "never (lost) that feeling" and nailed it spot-on right out of the gate with this opening track. (I'm sure over time everyone reading this blog is going to quickly learn that I'm a hugeübersupersucker for shoegaze / wall-of-sound / driving guitars.)

"American Shirt (Eagle Flag 911)" and "Celebrity Unrest" continue to back this introductory resemblance, but adding in additional references of My Bloody Valentine (especially the open guitar tones of "American Shirt (Eagle Flag 911)") and Sonic Youth. Singer / Guitarist, Will Scales, has a 1990's / Thurston Moore style of delivering his words; direct, raw, and often with a coolness. Danielle Deveau's baselines are straightforward and infectious, doing what bass players are supposed to do.

As I eluded to in the beginning, not only has the music from this EP caught my attention, but the interactive packaging really stands out. There is a heavyweight paper with an image of lines floating above the record jacket, allowing the listener to slide it up and down, changing the view from the title of the EP, 'You Are Not Going To Heaven,' to the name of the band, Soccer Mom. On the flip side, this movement provides you with the song titles from side-a to side-b. All of the typography on the record jacket itself is embossed into a thick, white cardboard with black ink; stunning.

Moving inside the package, the first thing I find is a printed copy of my favorite Peanuts cartoon; the one where Linus is telling Lucy,"Buying records cheers me up... Whenever I feel low, I buy some new records.." (so true). I'm not sure if I was special to receive this, but either way it worked for me.

I love that Sweaters & Pearls and 100m Records (split release) thought to use a manilla record sleeve, rather than the traditional white sleeves; it's a welcomed unique touch that you don't see too often. The cut-to-bleed photo with liner notes insert makes what could appear to be a more low-fi project official. Add in the glossy download card for MP3s that matches the line-image of the cover art as well, and you now know this is not another Belle & Sebastian high school project for art class.

For me, two other factors wrap it up as a stellar release for Soccer Mom, Sweaters & Pearls, and 100m Records: white vinyl and a 10inch record. It's a nice solid piece of wax that feels so innocent, taking us back to that low-fi feeling, which is what I'm loving so much (ultimately) about this record. The artwork on the center labels appears to be hand stamped: white paper label with red ink; purposeful (a), hospitable (thanks), and all that is necessary.

Everything from the music to the design is eclectic and contrasting, yet sits so well together. You'd expect to only be able to buy this record from the bass player's car after their show in the parking lot behind the club, as well as see it on the well illuminated shelves of Newbury Comics. The fun nature of the packing might lead you to think that Soccer Mom is the next pop-infused affair from Stephin Merritt (Magnetic Fields), but yet as your needle clears the lead-in you quickly realize Soccer Mom's 10inch EP (musically as well as physically) pays great tribute to indie rock releases from when vinyl was all we knew (SEE: Magic Eye Singles, Decoder Ring, Emperor Jones, SharkAttack!, Pop Narcotic, SpinArt, Omnibus, Vulva, Fist Puppet, Our Own Records). RIYL: Why are so many people addicted to indie rock music?